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    电视剧战·线第一季

    战·线第一季

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    • 片名：战·线第一季
    • 状态：完结
    • 主演：斯特凡妮·布兰科德/瓦莱丽亚·布鲁尼·泰德斯基/英迪亚·海尔//埃利·斯帕尼奥罗/达利·本萨拉赫/班哲明·比欧雷/艾瑞克·拉夫/托马斯·维瑟尔/让-弗朗索瓦·斯泰弗南/路易斯·根斯/
    • 导演：乌苏拉·梅尔/
    • 年份：2022
    • 地区：瑞士
    • 类型：美国剧/
    • 时长：内详
    • 上映：未知
    • 语言：法语
    • 更新：2023-09-17 22:18
    • 简介：Margaret, 35, has a history of violent behaviour which has cost her a romantic relationship. She has moved back in with her mother Christina, a fragile, immature 55-year-old woman who blames Margaret, her firstborn, for ruining her dreams of a career as a concert pianist. In a state of unbridled fury during an argument, Margaret hits Christina. The law steps in, further complicating family dynamics. As she awaits trial, Margaret is forbidden from coming into contact with her mother or within 100 metres of their home. This only intensifies her desire to be closer to her family. Every day, Margaret appears at this 100-metre threshold to see her 12-year-old sister Marion and give her music lessons. In La ligne, Ursula Meier continues her exploration of atypical family constellations, redefining the idea of a family “circle” to consider its topographical dimensions. Her astonishing lead actor is literally wrenched from this circle and from her mother in a manner reminiscent of the pain of childbirth. One of the film’s remarkable achievements is its shifting mood which, echoing its protagonists’ emotional insecurities, slips back and forth between comedy and drama without warning. The tonal choices and directing are assured and as striking as, well, a punch in the face.
    2022/瑞士/美国剧 /法语/

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      剧情简介

      Margaret, 35, has a history of violent behaviour which has cost her a romantic relationship. She has moved back in with her mother Christina, a fragile, immature 55-year-old woman who blames Margaret, her firstborn, for ruining her dreams of a career as a concert pianist. In a state of unbridled fury during an argument, Margaret hits Christina. The law steps in, further complicating family dynamics. As she awaits trial, Margaret is forbidden from coming into contact with her mother or within 100 metres of their home. This only intensifies her desire to be closer to her family. Every day, Margaret appears at this 100-metre threshold to see her 12-year-old sister Marion and give her music lessons. In La ligne, Ursula Meier continues her exploration of atypical family constellations, redefining the idea of a family “circle” to consider its topographical dimensions. Her astonishing lead actor is literally wrenched from this circle and from her mother in a manner reminiscent of the pain of childbirth. One of the film’s remarkable achievements is its shifting mood which, echoing its protagonists’ emotional insecurities, slips back and forth between comedy and drama without warning. The tonal choices and directing are assured and as striking as, well, a punch in the face.

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